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color-field painting

   Also found in: Wikipedia, Hutchinson 0.04 sec.
color-field painting, abstract art movement that originated in the 1960s. Coming after the abstract expressionism abstract expressionism, movement of abstract painting that emerged in New York City during the mid-1940s and attained singular prominence in American art in the following decade; also called action painting and the New York school.
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 of the 1950s, color-field painting represents a sharp change from the earlier movement. The production of the abstract expressionists involved a strong personal emotionalism, a painterly quality, and occasionally, as in the works of Willem de Kooning de Kooning, Willem (də k`nĭng), 1904–97, American painter, b.
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, elements of cubism cubism, art movement, primarily in painting, originating in Paris c.1907.

Cubist Theory



Cubism began as an intellectual revolt against the artistic expression of previous eras.
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. Color-field artists moved toward a more impersonal and austerely intellectual aesthetic. In their works they dealt with what they considered to be the fundamental formal elements of abstract painting: pure, unmodulated areas of color; flat, two-dimensional space; monumental scale; and the varying shape of the canvas itself. Painters associated with the movement include Ellsworth Kelly Kelly, Ellsworth, 1923–, American painter, b. Newburgh, N.Y. He moved to New York City in 1941, studying at Pratt Institute, and later attended the Boston Museum Arts School.
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, Jules Olitski Olitski, Jules (ŏlĭt`skē), 1922–2006, American painter, b. Russia as Jevel Demikovsky.
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, Kenneth Noland Noland, Kenneth (nō`lənd), 1924–, American painter, b. Asheville, N.C.
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, Frank Stella Stella, Frank, 1936–, American artist, b. Malden, Mass. In his early "black paintings" Stella exhibits the precision and rationality that characterized minimalism, employing parallel angular stripes to emphasize the rectangular shape of his large canvases.
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, and Morris Louis Louis, Morris, 1912–62, American painter, b. Baltimore. Louis is noted for soaking poured paint through unsized and often unstretched canvas. Prior to 1960 he did a series of veil and floral paintings using overlapping areas of muted, transparent colors in
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One isn't sure if the backgrounds are photographs or color-field painting, or if the dark, cloudy sky reveals a stormy sunset, the smoggy glow of oil fires, or the aftermath of an apocalypse.
 
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